Part 14 of the talk shows the default between filmmaker and audience in the theater Disclaimer (information contained in this part of the interactive virtual between the director and the receiver based on the ongoing dialogue between the late Dr Awni chrome and researcher on?. /. /. / May 1995. Yarmouk University / Jordan, It is worth mentioning that Dr. Awni chrome the codification of concepts around the scene of the Ruhr Germany in 1998 his book marked Robertocholli and Theatre Ruhr and the book may carry reviews and interventions Prof. Dr. Nabil Haffar, also printed at the expense of the Syrian Ministry of Culture, for this and the Secretariat of the Scientific and honor the spirit of my mentor and teacher artist Dr. Awni chrome must be noted). Author. Recipient: Theatre Ruhr, are we about the direction of theatrical, concept of cash, for example? Director: Ruhr theater German taken to the same named after Bmedintha and the band contains a set of actors, technicians, the most important thing that distinguishes it operates on three pillars Dramaturgy (Helmut Schaefer) and director (Roberto Choli) and designer (Happen), and Aani the existence of these pillars being forced, but it with all members of the band stand out from the receiver on a single line. Recipient: and how the concepts are incompatible? Director: Roberto says the founder of the band Cholli in daily exercise, as in the training - rehearsals - we start our day with the same question is disturbing and puzzling! What's new today? And the new in the world of Roberto Cholli nothing to do with drama, but everything related to the daily life of public and private local, national and internationalism, this question creates an atmosphere of broad participation and joy Almsahuptan highest degree of discipline floppy. This question may seem philosophical trend! It Kmalk the Roberto Cholli studied philosophy and affected by Boutrouhadtha, and affected the working mechanisms as a way out, he presents his views about the world around him and all surprising, meditated Awalmh and there discovered for the first time, and sense of collective and mutual dialogue and agreed conclusion or contradictory maintain the vitality and sustains concern the positive product, creative and innovative . And such mechanisms does not correspond with the director does not allow the dominance of Acanuttator Dramaturgy or designer space on the atmosphere of theatrical discourse in all its stages, and this applies to the text and what role the new discovery or try What's New that was discovered? Recipient: I think that Robertocholli unleash productivity at all levels to achieve the removal of Mniatip in the semantic level of the text to be implemented through it to produce Awalmh within the social institution of the text, and so is often used for Petrbrook or Bertolt Brecht? Director: It's Aisay so on. But it can not be a choice, choice of text and Qsidith and themes of negative and positive prospects in the text and can not be one of the options as a way out alone, like the rest of the directors!! As the end of the exercise and practice yoga even, but intended to strengthen the capacity of the Representative to focus and meditation and self-discovery capabilities and re-discovery of members of his body again - I mean Representative - another concept that the actor in these teaching methods but the process of renewal of a sustainable capacity of the physical and spiritual potential, excitation, and activation stocks rally, but those Taqtin and re-discover more association between the two diets in an atmosphere of continuous growing of the capacities of his body Albayumkanikip which will enable it to interpretation and the interpretation and analysis. Cholli that seen in the stock of such Altjarribi even see mistakes in the exercise that they can be part of a theatrical work, provided that the references that Kzo unintentional moment to recognize and enrich and strengthen the position of the personal. Recipient: Based on the foregoing, I can say that the actor can not be present at the scene of the Ruhr Kmat because this level of collective behavior? Director: The concept of the group at the scene of the Ruhr understand oneself and duties, and he put it hard for intellectual abilities. The presence of the group the actual determined by the individual itself, and not exist for the group concept of the herd, there is a difference in the moves of the individual within the movement Almaztrdp of the group the same trend and as dictated by the movement or the will, or that give rise to acts of individual imagination of the group, so it depends Roberto Cholli on the motives and incentives that it had received from team work, in other words, that the imagination Alakharajip grow and expand to external stimuli sent to according to codes or questions, visualization theater can not be achieved unless excited twofold excitement of self and that her motivation, motivation and excitement Foreign Affairs and is by other motives, motives, and the imagination of the output from the point of view Robertocholli not absolute authority, the director of knowledge Bratip system provides services to creative energies, imagination of the director of the expansion work of the Representative to the text as well, and make it able to penetrate all levels of the text. Recipient: What are those levels? Director: We are here about the reproduction of the text of any that we are in the process of assignment is written to the visible through the Metn verbal speech, which will be responsibility of the narrator or narrator or performer, so we'll be over more levels in the world of the text they need to penetrate and dislodge and the interpretation and explanation, including: codes and the law dominant position on the unity of the interaction between text and receive Hvrti, linear appearance of the text, structure and flowing narrative text structures and the determinants of the direction of the narrative structure through intuition and potential, and intellectual structures and other levels of quantity produced of the text and can also marketed. The relationship between the director and actor in the theater of the Ruhr list on the basis of dialogue leading to meditation and experimentation and selection, did not come so arbitrarily, but from the effects of philosophical studies which secure the Roberto Cholli, that everything is for him a relative point of view of the director are the other relative and what the world is harmonious to the basis of a plurality of visions Valmsarh this small world to be for him to be a multi-visions and overlap perceptions, feelings and emotions and ideas. Recipient: But there could be exercised Sulttan Ksrithma literacy to understand and the performance of actor and director perhaps even, I mean drama Torch and designer of space. Director: Torch in the drama (theater Ruhr) believes that fully representative, but that is the center, which should revolve around the display components. Why? To answer this question must be to stop at two levels Ttabiqiin, the work of Dramaturgy, and the relationship of Dramaturgy Representative of the same drama shake in the (theater Ruhr) for Ayoagaf work is based on theory, but goes beyond that to build a form of presentation, and accepted by the selected text or text search available on the Thread Theatre to be the subject theatrical re-create the nucleus of the building through group work and foremost representative in comes the role of director and drama Torch second class. It is the most important conditions of choice that is available the selected theme on the relationship intimate with our existence as individuals and that come out of the suit example to the world of reality through the collection of all literary studies, intellectual and political about it - and that the task of Dramaturgy - or, as he says (Hegel) (We realize that time) in the sense else if philosophy was aware of the time the mind, the theater, he can not be aware of the time or times Alabaltmthel, and this understanding, we can read the importance of the actor in the theater of the Ruhr, and if philosophy refers to the two functions of time, the moment of contemporary or actually extended future, the theater is available on those two values, philosophical and Alveziaoip but is an officer for them and controlled them. Representative is in front of the receiver being modern times it represents at this time of the incident and action any minute emotional cumulative joint between it and the receiver and personal, and actor alone makes them fall apart to (Anat) to settle in the depths of memory on the grounds that it's past is over, and there are moments appear to recipients as if the actor saw her and now re-incorporation or tell and perhaps experienced a most able to feel their time, and those moments are Ithssha Representative Nhsha We can thus for the theater to be moved back to the sensory Makratia we forgot or we are about to forget. That (Helmut Schaefer) - Dramatturj Theatre Ruhr - close to drink so much as went to him from the concept of time shared between the actor and the recipient, the actor is aware that the present and reality and what he gives on stage for so alias looks like (now) is the only who realizes he is able to change direction time all the concepts and comes through his performance, here finds all of the drink and Dramatturj Ruhr and director for the individual that the drama can not grow from the act of the applicant in a letter literary on according to the cumulative mean is available on his being the quantitative and qualitative, but that the foot stands comes from the subject of sexy and harmonious with the aspirations of team work in the following questions: the relationship between text and reality, the extent to which the text with the functional team to address the symbolic reality Employee assignments and what the level of the move in the modern time any Hyatih. Recipient: But the (theater Ruhr) worked on more of the classics (Oedipus), jungles, cities, Don Juan, how compatible with modernity? Director: in Oedipus, has been canceled idea Choral completely - to work on level qualitative text - was confiscated stylistic theater presentation by the apparent overlap between the performance of the choir dissolved in the other characters and the distribution of positions and dialogues on the main characters even - scenes in the demolition of the structure how - and that the output did not make us about the social crisis or moral or political even, but we made over the festive Aotks religious await moments fading self and individuality and make everyone's working on it and speeding up the market to die inevitable in other words, everyone watching in fact foreseeable and pension destruction of the individual within the walls of his life and society and the environment - engaging in level semantic and interpretation Qsidith -, we were about Tnas enormous available on Qdreatt multiple, Oedipus, the Last Supper, (signed to Heiner Miller), the family meets at a round table as if they were at the Last Supper and vocabulary dagger, clean water freshener, sins outstanding Balajdzad also corresponds Odran desire in the strip of salvation, icons, operate outside the framework of the general atmosphere and growing a dramatic, blood shed from the eyes of Oedipus referred the life the children to the Open eternal while it should be on the contrary, the purity that must be provided that blood was not achieved (Clemenstra) announces for innocence Bareha, Vaery denote purity, but the nakedness, which represents its desire to be concealed that it sin that must be concealed and failed, and what concerns us all that the actor that is driving this emancipation of Alclachihatip and explanatory and archive to the alienation based element of imagination and perception, and induction and production of new tools are consistent with the age and taste of science and technology. Recipient: Are there stages in the work of the Task Ruhr Dramaturgy Theatre? Director: A Practical progress preceded by a theoretical side to Waqef the following: the production of the virtual environment of the event by working with the director and designers and space units with all the details. Lighting, costumes, accessories. With enter into a dialogue interpretive and explanatory may reach an end sparring with the representatives, and actor is not interested in adopting ideas Dramaturgy and opinions, but he is obliged to present a contrast in an objective aesthetic value or knowledge, comes the importance of this stage of their results as will contribute to writing the text on the basis of what he believes and the perceived actor and reading the explanatory and interpretive and analytical, in comes the third stage complementary to the second which is shared by the escort Representative in the exercise and re-writing the text after it has been Chdith and referred to the small units in the process of interpretation and analysis, either the only truth that must take her Dramatturj (theater Ruhr ) German recipient is a single task: (Art is offering negative against all the positives of thinking and perception) and to reach to the positive moment should be in the far other end of the negative, that are not taken except during the reconstruction of questions Precht and Bart Bskatur (How to understand the text itself? ) and how we understand the text itself? Or to discover areas of weakness and passivity that the text through which to implement the attitudes and situations to be addressed and the development of technical solutions have, but we must always remember that the theater is not art for clarification. Exaggeration to clarify things mean a fall in Kzo, in the theater should be the recipient of the situation by contrast, but must pay for in order to react and reflect, and expression are not taken to be fitted with one but with all available means, for example, weakness in the behavior of (Krocha / Caucasian Chalk Circle, Bertolt Brecht) consent to marriage arranged for the boy who is adopted, scenes in the size of the sacrifices on the one hand Krocha pay the recipient's to the extreme radicalism of negative Krocha and not for it in its crumbling in a court dispute over ownership of the child - regardless of the results, it is not through the data text Alberstei but through the concept of motherhood in modern humans renewed after becoming Krocha thing of the past and that is what we called the awareness of the relatively advanced by the time limitation, who is also the concept of a Marxist. Receiver: If the text is to delete the application and the delay and Alazafp and .. ? Director: never not taken in the theater until the Ruhr Representative so! Why? Representative of the Eiserd without reflecting, is who decides what should be deleted and what should stay, has been awarded the actor freedom to delete all dialogue Aigne not develop a reaction, or cover material, and I mean the event, as well as information available which do not affect the specific features of the personality, or as they say ( Helmut Schafer / Dramatturj Theatre Ruhr), we have to deal with the text that he met to say, and embodiment, text represents one leg and the other leg is the actor.
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